Composition, possibly fragmentary, for cello. There is a cello part in Hemphill’s hand, 26 measures long, but no other score or parts.
Compositions M-R
Man Woman Snake Dead
Hemphill’s arrangement of a composition by Bill Cole, one of seven arrangements Hemphill made for concerts with Cole in New York City and at Dartmouth College on September 26-27, 1986. Hemphill arranged the piece to be performed by Cole on winds, himself on saxophones, Olu Dara on trumpet, Joseph Daley on tuba and baritone horn, Abdul Wadud on cello, Gerald Veasley on bass, and Hafiz Shabazz and Warren Smith on drums/percussion.
One Man’s Hatred / Destiny
Hemphill’s arrangement of a composition by Bill Cole, one of seven arrangements Hemphill made for concerts with Cole in New York City and at Dartmouth College on September 26-27, 1986. Hemphill arranged the piece to be performed by Cole on winds, himself on saxophones, Olu Dara on trumpet, Joseph Daley on tuba and baritone horn, Abdul Wadud on cello, Gerald Veasley on bass, and Hafiz Shabazz and Warren Smith on drums/percussion.
Messin’ with the Kid
Song by Mel London originally recorded by Junior Wells and arranged by Hemphill for saxophone quartet (two alto, tenor, and baritone). Recorded by the World Saxophone Quartet on Rhythm and Blues (1989). The archive includes professionally copied parts.
Found on: Rhythm and Blues.
From Marty Ehrlich: This is another amazing re-imagination by Hemphill of an iconic up-tempo Chicago blues.
Maurice
Suite of compositions for saxophone, guitar, and cello or bass. Trumpet is also indicated on the score, though it does not have its own line. The fourteen-page holograph score in the archive is missing its first two pages and begins with what is apparently the second piece in the suite, which are titled as follows:
II. Antecedent: Love/Understanding
III. Inquiry/Findings
IV. Tightenin
V. Oracle
The archive includes a cello part in holograph from “Tightenin” as well as archival audio.
From Marty Ehrlich: There is a lot of music here, and it would be wonderful to hear it. I would tentatively date this work to 1969–70, as this was the year painter Oliver Jackson, who was teaching at Oberlin College, invited Hemphill to perform on campus. Oliver introduced Julius to cellist Abdul Wadud, who was then a student at Oberlin. This meeting marks the beginning of the amazing creative collaboration that was to develop between Hemphill and Wadud.